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Piers Lane brings his admired virtuosity and innate musicality to Scriabin’s Études. To listen to them as presented on this album is to hear the gradual but total transformation of Scriabin’s musical language from the earliest significant composit ...» More

Piers Lane’s performances of the complete Scriabin Préludes are bold and compelling, matching technical bravura with a rich vein of poetry and colour and communicating the composer’s vivid and exceptional imagination. Beautifully recorded and supe ...» More

Details

Op 56 No 1 (1907/8) dates from the same time as the Poem of Ecstasy. Its virtuosic octave and chordal writing combines aggression and aspiration, and though nominally in E flat major it seems to be written in A flat with a cadence onto the dominant – a step away from the traditional tonal ending.

Op 56 No 4 was published by Belaiev along with the Poem of Ecstasy, and its fleet melodic line and skipping rhythms have much in common with the orchestral work’s ‘allegro volando’ section. It anticipates the vertiginously whirling dances which conclude the sixth and eighth Sonatas. Significantly, the clarity of the final cadence is clouded by a mixture of tonic and dominant harmonies.